فهرست مطالب

رهپویه هنر - سال چهارم شماره 2 (پیاپی 11، تابستان 1400)

مجله رهپویه هنر
سال چهارم شماره 2 (پیاپی 11، تابستان 1400)

  • تاریخ انتشار: 1400/05/25
  • تعداد عناوین: 7
|
  • زهرا باقرزاده آتش چی، مهدی محمدزاده* صفحات 5-14
    مقاله ی حاضر بر آن است تا با رویکردی بینامتنی به روابط آثار تجسمی آیین میترایی و مسیحیت بپردازد. به این منظور نمونه های تصویری شامل هشت مضمون تولد، قداست آب و غسل تعمید، شمایل مادر و فرزند، شام آخر، عروج و رستاخیز، قداست رنگ سرخ، حواریون و چلیپا از هر دو دین انتخاب شد و با رویکرد بینامتنی به تشریح روابط آنها پرداخته شد. بینامتنیت نظریه ای ادبی- هنری است که معتقد است هیچ متنی بدون پیش متن نیست. این نظریه متمرکز بر روابط بینامتنی در تولید و خوانش آثار است. یکی از گونه های بینامتنیت گونه ی تولیدی آن است که در آن بر پیش متن های تولید اثر توجه می شد و منظور از آن بررسی آثاری است که در تولید آثار بعدی نقش دارند. روابط بینامتنی در آثار میترایی و مسیحی گاه هویتی از نوع درون نشانه ای و گاه مبنایی بینانشانه ای دارند. کشف روابط بینامتنی میان پیکره های مطالعاتی این نوشتار نشانگر روابط بینافرهنگی نیز هست. روش کلی این پژوهش تاریخی- تحلیلی است و منابع آن از نوع اسنادی می باشد. نتایج نوشتار حاضر حاکی از آن است که با توجه به مضامین مشترک میان آثار میترایی و مسیحیت آثار میترایی پیش متن هایی برای آثار هنری مسیحیت است.
    کلیدواژگان: هنر میترائی، هنر مسیحیت، بینامتنیت، پیش متن
  • حسام حسن زاده، یعقوب آژند*، بهمن نامور مطلق صفحات 15-22
    مقاله ی حاضر بر آن است با استفاده از رویکرد ترامتنیت ژرار ژنت، به خوانش لوگوی دانشگاه تهران- به مثابه ی متنی تصویر بپردازد. در این رویکرد، از طریق پیگیری روابط بین متون، دلالت مندی های عناصر تشکیل دهنده ی متن تشریح و درنتیجه، معانی پنهان آن آشکار می شود. ژنت از نسل دوم بینامتنیت است که نظریه ی او با عنوان ترامتنیت شناخته می شود؛ در این رویکرد، رابطه ی پیش متن و بیش متن از منظرهای مختلفی بررسی می شود تا معانی متکثر متون تشریح شود. سوالی که نوشتار حاضر می خواهد به آن بپردازد این است که معانی ضمنی لوگوی دانشگاه تهران چیست؟ به منظور پاسخ به این سوال، پس از تشریح آرای ترامتنی ژنت، لوگوی دانشگاه تهران، تحلیل و سپس مبتنی بر روشمندی ترامتنیت، خوانش شد. در خوانش این متن تصویری، با تشریح روابط بینامتنی عناصر تشکیل دهنده ی لوگو، آشکار شد که لوگوی دانشگاه تهران، متنی بینانشانه ای است که در آن تلفیقی از نمادهای دو دوره ی پیشااسلامی و اسلامی دیده می شود؛ از طرف دیگر، پیگیری روابط بینامتنی در این لوگو، مبین دلالت های این لوگو بر تکمیل شدگی و کمال عقلی، پیروزی و آگاهی اندیشمندانه، پویایی و تحرک است. روش کلی این مقاله از منظر هدف، بنیادی و از منظر روش، توصیفی- تحلیلی است و داده های آن نیز به شیوه ی اسنادی جمع آوری شد.
    کلیدواژگان: تحلیل بینامتنی، ترامتنیت، ژرار ژنت، لوگوی دانشگاه تهران
  • محمد معین الدینی*، آزاده اولیائی شاد صفحات 23-31
    فالنامه های مصور مجموعه کتاب هایی پیرامون دستورها و آداب و آیین فال گیری هستند که بنا بر شواهد از پیشینه کهنی برخوردارند و قدرت گرفتن صفویان و به ویژه در زمان حکمرانی شاه تهماسب این فالنامه ها گستردگی ویژه ای یافتند. به طوری که تبدیل به یکی از گونه های کتاب آرایی درباری شدند و نه تنها در ایران بلکه در قلمروهای دیگری چون عثمانی و قطب شاهی هند توجه ویژه ای به آن ها شد. یکی از انواع فالنامه های به جامانده فالنامه ای ست که هم زمان با حکومت صفوی و در اواسط قرن یازدهم هجری/ 17 میلادی در منطقه گلکنده، واقع در جنوب هند تصویر شده است. مساله اصلی این پژوهش ریشه یابی سنت های تصویری نگارگری ایرانی و شناسایی مولفه های بومی در سبک نگاره های فالنامه است. هدف اصلی نیز شناخت تاثیرات نگارگری ایرانی بر نگاره های فالنامه مصور قطب شاهی است. ازاین رو این پژوهش با ترکیب روش های تاریخی و توصیف سبک شناختی نگاره های فالنامه گلکنده و تحلیل آن ها براساس معیارهای نگارگری نیمه اول صفوی، به دنبال نحوه تاثیرپذیری سبک این فالنامه از هنر نگارگری ایران و تعامل آن با ویژگی های بومی دکن است. تحلیل ساختاری نگاره ها و بررسی نکات افتراق و اشتراک میان نگاره های موجود در این فالنامه با دیگر نگاره های عهد صفوی بیانگر این است که غالب عناصر موجود در نگاره های این فالنامه مانند فضاسازی و پوشش، تذهیب و تشعیر و همچنین استفاده از رنگ تخت و یکدست، سطوح دورگیری شده، کلاه قزلباش و مواردی ازاین دست تحت تاثیر سنت های نگارگری ایرانی هستند درعین حال علیرغم غلبه سنت های نگارگری ایران در این فالنامه الگوی سبک شناختی نگاره ها کاملا ویژگی های نگارگری دکن را نشان می دهد ازجمله کاربرد وسیع رنگ طلایی، استفاده از پاورقی، رنگ مات و روحی و از همه مهم تر نوع چهره پردازی از ویژگی های بومی نقاشی دکنی هستند.
    کلیدواژگان: فالنامه نگاری، نگارگری ایرانی، نگارگری دکن، هنر قطب شاهیان، فالنامه گلکنده
  • علی بوذری*، مهدی صحراگرد صفحات 35-47

    خط کوفی از نخستین خطوط دوران اسلامی به شمار می رود که در سده های نخستین پرکاربردترین خط در کتابت متون دینی، مسکوکات، ظروف سفالی و سنگ نوشته ها و تزیینات بنا بوده است. این خط در نیمه قرن دوم هجری به تکامل رسید و سبک های منشعب از آن از سده چهارم تا اوایل سده هفتم در برخی کاربردها همچون کتیبه نگاری و برخی قرآن ها تداوم یافت. پس از آن با رونق بیشتر خطوط ششگانه کاربردش بسیار محدود شد و جز از سر تفنن کتابت نمی شد. دوره قاجار دوران رواج گسترده خطوط نستعلیق، نسخ، و شکسته نستعلیق در نسخ ایرانی است. با این حال نسخه های خطی و کتاب های چاپ سنگی معدودی در دست است که به دست شخصی به نام زین العابدین شریف صفوی (1282-1333 ه.ق)، کاتب، مصحح و نویسنده ایرانی، به خط کوفی کتابت شده است. زین العابدین علاوه بر کتابت این آثار در رساله ای با عنوان رساله احیاءالخط به تعلیم خط کوفی پرداخته و در آن شیوه کار خود را توضیح داده است. گرایش به احیای خط کوفی را شاید بتوان در جهت باستان گرایی و بازگشت به گذشته در این دوره ارزیابی کرد. این پژوهش که از منظر هدف کاربردی و از منظر تحلیل داده ها کیفی است، در پی یافتن پاسخ به این سوال است که زین العابدین صفوی چگونه خط کوفی را در کتابت سه اثر چاپی خود، یعنی دعای صباح 1317 ه.ق، قرآن 1312-1322 ه.ق و نسخه دیگری از دعای صباح 1322 ه.ق، به کار برده و به منظور فایق آمدن بر محدویت های این خط به چه ابداعاتی روی آورده است؟ یافته های این پژوهش در بخش مفردات خط دال بر بهره گیری کاتب از شیوه کتابت کوفی اولیه (در هر سه کتاب) و کوفی شرقی، در صفحاتی از قرآن 1312-1322 ه.ق است. او در ترکیب سطور در دعای صباح 1317 ه.ق مقید به قواعد کوفی اولیه بوده اما در ترکیب خط دو نسخه دیگر به منظور غلبه بر محدودیت های خط کوفی، از شیوه های ابداعی، چون مورب نویسی، عمود نویسی و روی هم نویسی در پایان سطور استفاده کرده که اگرچه در دیگر خطوط رایج بوده در کتابت خط کوفی بی سابقه است. او همچنین به منظور هنرنمایی گاه ترکیباتی بدیع از طریق روی هم نویسی کلمات در میانه متن قرآن به کار برده که شایان توجه است.

    کلیدواژگان: هنر قاجار، خوشنویسی، چاپ سنگی، قرآن نگاری، خط کوفی، زین العابدین صفوی
  • هنگامه شاه بیگی، فرهاد خسروی بیژائم* صفحات 49-61

    امروزه شناخت بیشتر و بهتر هنرهای سنتی ایران مستلزم بهره گیری از رویکردهای نوین در حوزه مطالعات عالی هنر است. شمایل شناسی یا آیکونولوژی، رویکردی است که آثار هنری را با در نظر گرفتن زمینه های سیاسی، اجتماعی و اقتصادی هر دوره تحلیل می کند. در این شیوه، هنر به عنوان سندی از یک دوره تاریخی معرفی شده و در نهایت دستیابی به محتوای معنایی اثر ممکن می شود. در این پژوهش، نگاره براق، با بهره گیری از مطالعات شمایل شناسی به هدف شناسایی زمینه های شکل گیری و لایه های درونی این نقشمایه و دستیابی به الگوی تصویری رایج آن، مورد مطالعه قرار گرفته است. پرسش های پژوهش بدین قرار است: ریشه فرمی این شمایل به کجا باز می گردد؟ بار معنایی لایه های درونی این نقش مایه چیست و عوامل موثر بر شکل گیری آن کدامند؟ گردآوری مطالب به روش کتابخانه ای صورت پذیرفته است. پس از جمع آوری 26 نمونه تصویری به روش نمونه گیری در دسترس؛ به توصیف، تجزیه، تحلیل و ریشه یابی تصاویر پرداخته شده و با رسیدن به الگوی تصویری نگاره، تحلیل نهایی انجام شده است. در این پژوهش، به واسطه تطبیق نتایج حاصل از مطالعه بصری با روایات ادبی و دینی و دیگر علوم، این نتیجه حاصل می شود که ریشه فرمی و معنایی نگاره براق به هزاره های قبل از میلاد باز می گردد و تاکنون ادامه یافته است. گرچه این نگاره در هر دوره، با در نظر گرفتن شرایط اجتماعی و دانش عمومی، با اندک تفاوت ظاهری مواجه شده، ولی تا به امروز از معنای نمادین آن چیزی کاسته نشده و احتمال این می رود که هدف هنرمند از تلفیق علم، هنر و دین، تاکید هر چه بیشتر بر معنای خدای گونه، روحانی و مذهبی براق بوده است تا در باور عموم، مرکبی متناسب با منزلت نبی اکرم (ص)، ترسیم و معرفی کرده باشد.

    کلیدواژگان: شمایل شناسی، آیکونولوژی، آیکونوگرافی، نگارگری ایران، نگاره براق
  • ندا سادات ملکوتی*، ایمان زکریایی کرمانی، بدری حکیمیان، فرهاد باباجمالی صفحات 63-75
    قالی ایرانی از هنرهایی است که شناخت آن در دانش سبک شناسی و در چند دهه اخیر مورد اقبال پژوشگران این حوزه بوده است. با این همه این پژوهش ها در ابتدای راه قرار داشته و به همین خاطر با برخی کاستی ها و گاهی با اظهار نظرهای غیر علمی نیز همراه بوده که از آن جمله می توان به سبک شناسی براساس مناطق جغرافیایی اشاره نمود. به همین خاطر نظر واحدی در سبک شناسی قالی های ایرانی وجود ندارد. این در حالی است که رویکردهای تاریخی یکی از روش هایی قلمداد می شود که قسمت مهمی از فرش های ایرانی را در قالب آن می توان تعیین سبک نمود. با توجه به موارد گفته شده و همچنین اهمیت عصر صفویه و تاثیر قدرت پادشاهان این دوره  در قالی بافی ایران، سبب شد تا این پژوهش با هدف سبک شناسی تاریخی قالی های دوره ی شاه طهماسب اول و با روش توصیفی-تحلیلی به آنالیز و بررسی موردی تعدادی از قالی های بافته شده در این دوره با استفاده از منابع کتابخانه ای و مشاهدات میدانی بپردازد که در نتیجه ی آن، صفات سبکی مشترک میان قالی های متعلق به این دوره محرز گردد. همچنین تاثیر عوامل محیطی از جمله اوضاع اقتصادی، اجتماعی،  فرهنگی و سیاسی بر ویژگی های ظاهری و فنی  این دسته قالی ها  و تمیزدادن آنها با قالی های ادوار دیگر، کشف ویژگی های سبکی میان قالی های متعلق به این دوران آنها را از لحاظ تاریخی و هنری سبک شناسی و گروه بندی کند. که به سب آن پراکندگی اختلاف نظر در این حوزه کاهش یابد.
    کلیدواژگان: سبک شناسی، تاریخی، شاه طهماسب اول، صفوی، قالی
  • حسن افشاری*، فریدا فروزان صفحات 73-83

    در نخستین دره در منطقه کوه های هومیان در شمال غربی کوهدشت لرستان، تخته سنگی معروف به سنگ مهرداد وجود دارد. قسمت زیر شکاف سنگ بیشتر از40 نقش رنگی به رنگ های قرمز روشن، قرمز- قهوه ای، سیاه و زرد دارا می باشد، که هر یک به سبکی متفاوت ترسیم شد ه است. این پژوهش با بررسی میدانی و کتابخانه ای با هدف بررسی این نقوش با شباهت هایی میان زندگی اجتماعی کوچ نشینان این منطقه در دوره بعد از عصرآهن انجام شده و بر پایه این فرضیه است که احتمالا نقوش خاص بر روی سنگ مهرداد که بیانگرحرکت تعدادی انسان و حیوان در کنار هم می باشد، و کوچ انسان ها در کنار هم را به نمایش گذاشته است. نتایج نشان می دهند که این نقوش، احتمالا در ارتباط با نحوه زندگی کوچ نشینی و حیوانات مرتبط با انسان ها، اسب، شتر، سگ و بز بر روی این سنگ نقش شده و با توجه به تاریخ اهلی سازی تمامی این حیوانات در کنار هم نمی تواند قدیمی تر از عصرآهن باشد. در این مقاله سعی شده است مستندنگاری و توصیف کاملی از نقوش و یافتن چرایی وجود آنها پرداخته شود تا بدین وسیله بتوان به مفهوم نگاری نقوش هومیان و شناسایی از چشم انداز گذشته پرداخت.

    کلیدواژگان: هنر صخره ای، رنگین نگاره، کوهدشت، هومیان، سنگ مهرداد
|
  • Zahra Bagherzadeh, Mehdi Mohammadzadeh * Pages 5-14
    This article intends to take an intertextual approach to investigate relationship between works of art, especially visual works of Mithraism _ as pretext _ and Christianity. For this purpose, pictorial samples including eight themes of birth, sanctity of water and baptism, image of mother and child, the Last Supper, ascension and resurrection, sanctity of red, apostles and crucifixes were selected from both religions. Then, visual samples were selected according to these themes and their relationship was described with intertextual approaches. Intertextuality is basically a literary _ artistic theory which believes there is no text without a pretext. This theory, which first was raised by Julia Kristeva, focuses on intertextual relations in production and reading process of texts. There are two types of intertextuality in general: production and reading intertextuality. Production type pay attention to pretexts of work in production process, that is examining the works that have played a role in the production of subsequent works. In addition, there are different types of intertextuality studies. for instance, transtextuality is one of them which introduced by Gerrard Genette. Genette describes transtextuality as all that sets the text in a relationship whether obvious or concealed, with other texts. Transtextuality can be include a varieties types of text relationships: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. Intertextuality is as a relationship of copresence between two texts or among several texts. A tittle, a subtitle, intertitles, prefaces, postfaces, notices, forewords and etc are paratext. Metatextuality is the relationship most often labeled commentary. By architextuality Genette means the entire set of general or transcendent categories types of discourse, modes of enunciation, literary geners from which emerges each singular text. By Hypertextuality he means any relationship uniting a text B (hypertext) to an earlier text A (hypotext) upon which it is grafted in a manner that is not that of commentary. The hypothesis of the present article is this: The pretexts of some Christian works of art is Mithraic works. To prove this hypothesis, some works of Christian art were analyzed using intertextual approach. The results led to proof of this hypothesis. In intertextual study of works of arts from two religions, different approaches of intertextuality were used: Genette transtextuality, Jenny approaches, Riffaterre intertextuality and etc. Intertextual relations in Mithraic and Christian works sometimes have an in-sign identity and sometimes an inter-sign basis. In some case studies, the pretext and text both are from one semiotic system but in others, the semiotic systems are different. The discovery of intertextual relationships between the study bodies of this paper also indicates intercultural relationships, Mithraism and Christian societies have two different cultures. The method of this research is historical _ analytical, its data is gathered via library source and by referring to books, articles and sites.  The results of this article indicate that due to the common themes between Mithraism and Christian, there are strong relationships between them in different aspects and we can consider Mithraic works as pretexts for Christian works of art.
    Keywords: Mithraic art, Christian art, intertextuality, pretext
  • Hessam Hassanzadeh, Yaghoub Azhand *, Bahman Namvar Motlagh Pages 15-22
    The present article intends to read the logo of the University of Tehran - as a visual text - using Gerard Genette’s transtextual approach. In this approach, by following the relations between the texts, the meanings of the constituent of the text are explained and, as a result, its connotation meanings are revealed. Genette is from the second generation of intertextuality, whose theory is known as transtextuality. In this approach, the relationship between hypotext and hypertext is examined from different perspectives to explain the multiple meanings of the texts. Genette describes transtextuality as all that sets the text in a relationship whether obvious or concealed, with other texts. Transtextuality can be include a variety types of text relationships: Intertextuality, Paratextuality, Metatextuality, Architextuality and Hypertextuality. -Intertextuality is as a relationship of copresence between two texts or among several texts.- A tittle, a subtitle, intertitles, prefaces, postfaces, notices, forewords and etc. are paratext. - Metatextuality is the relationship most often labeled commentary. -By architextuality Genette means the entire set of general or transcendent categories types of discourse, modes of enunciation, literary geners from which emerges each singular text. - By Hypertextuality he means any relationship uniting a text B (hypertext) to an earlier text A (hypotext) upon which it is grafted in a manner that is not that of commentary.In addition to, Genette calls the reduction or expansion relation between hypotext and hypertext as quantitative transformation which can be done in two ways: reduction of hypotext or expansion of it. Both of them is done by three ways: Reduction: Excision, Concision and Digest Expansion: Extension, Expansion and Amplification In return, pragmatic transformation deal with meaning changes between hypotext and hypertext. This function is done in three ways too: Transvaluation, Transmotivation and Transmodalization. In order to read the logo of the University of Tehran, it was examined in four stages: - Terms of intertextual studies: in this stage, the terms of study body were examined to be suitable for intertextual study. - Analysis: in this stage, the study body was analyzed into its constituent. - Intertextual relations: in this stage, the intertextual relations of constituent were described. - meaning significations: in this stage, the significations of component were explained. In this article, after explaining the transtextuality of Genette, the logo of the University of Tehran was analyzed and then read based on transtextuality. In reading this visual text, by explaining the intertextual relations of the constituent elements of the logo, its significations and connotations were explained. The general method of this article is fundamental in terms of purpose and descriptive-analytical in terms of method, and its data are gathered via library method. The results of the article indicate that the logo of the University of Tehran is an intersign text in which a combination of the symbols of the two pre-Islamic and Islamic periods can be seen; from the other hand, the pursuit of intertextual relations in this logo shows the implications of this logo on completeness and intellectual perfection, victory and thoughtful awareness, dynamism and mobility.
    Keywords: Intertextual Analysis, transtextuality, Gerard Genette, University of Tehran Logo
  • Mohammad Moeinaddini *, Azadeh Oliayishad Pages 23-31
    Falnamas are a collection of books on the manners and the instructions of fortune telling. Based on the available evidence these Falnamas have had a long life and were specially evolved during the reign of Shah Tahmasb the second king of Safavid dynasty. During this historical period, illustrated falnama as an artistic genre evolved in the other territories such as in the Ottoman and the Indian courts. Therefore, this article uses a descriptive-analytical approach to examine how Iranian painting of Safavid era influenced Khalili’s Falnama. Khalili falnama as a magnificent piece is one of the manuscripts that well show the influence of Iranian culture in the court of the Qutbshahi sultans of Golconda. By the time of producing its illustrations,  a very close relationship were established between the sultans of Qutb Shahi and the safavid court of Iran, especially in the politics and finances, while the common Shiite religion and doctorine played a dominant role. This Falnama produced in the first quarter of the seventeenth century in the court of Qutb Shahi sultans in Golconda (1512–1687), more than half a century after significant Iranian Falnamas. The illusrtration of this book fortune-telling are a combination of Shiite, religious, historical and mythological stories that derived freely from many different sources, such as the Qur’an, poems of Nizami and Jami and books like the Qisas al-Anbiya and the Siyer-i Nebi. Illustrated pages such as ‘Ali Fighting at the Gates of Khaybar”, “Prophet Muhammad’s Night Journey and the Aqsa Mosque”, “The Prophet Salih and his miracle of the she-camel” and “Shah Tahmasp and His Army in Battle”. The style of its miniatures has clearly and to a significant degree borrowed from Iranian Safavid-era court painting, especially the Qazvin and Tabriz schools, and is very much influenced by Safavid Falnamas in many ways, both visually and structurally. Also the history of ethnicity, patriotism and interest in the Shi‘I religion are among the factors that influence this Falnama and form a strong connection to Iranian culture and the Shi‘I religion. some of the elements in the figures, like the clothing features, the coherent use in throne color, famous hats of Gezelbash, etc signify the influence of Iranian painting traditions. However, due to the geography, time, type of illustration and style rules, government conditions and the prevailing intellectual space and the tastes of the clients in each historical period, there are differences in style of the miniatures of this manuscrip, Such as, features of the Deccan native style, especially the presence of a footnote under the miniatures, which is derived from the common Indian tradition; and Despite the executive similarities in the method of painting with the Iranian court painting tradition, the colors are dull, thin and spiritual. In a way that the basics of the visual culture of Deccani’s court can be seen through its miniatures.
    Keywords: Illustrated Falnama, Deccani Miniature Painting, Qutb Shahi Art, Golconda Falnama, Khalili Falnama, Persian Miniature
  • Ali Boozari *, Mehdi Sahragard Pages 35-47

    The Kufic script is one of the first scripts of the Islamic era, which was the most widely used script in writing religious texts, coins, pottery, and inscriptions and building decorations in the first centuries. This script evolved in the middle of the second century AH and the styles derived from it were used in some applications such as inscriptions and some Qurans from the fourth century to the early seventh century. After that, with the further prosperity of the cursive scripts, its use was very limited and it wouldn’t be written except for amusement. The Qajar era was a period of widespread prevalence of Nasta`liq, Naskh, and Shikasta Nastaʿlīq scripts in Iranian manuscripts. However, there are few manuscripts and lithographic books that were written in Kufic script by someone named Zayn al-Ābidīn Sharīf Safavī (1282-1333 AH), an Iranian writer, proofreader and author. In addition to writing these works, Zayn al-Ābidīn has taught the Kufic script in a treatise entitled “Risāli ihyā` al-khat” and has explained his method of work in it. The tendency to revive the Kufic script might be assessed in terms of antiquity and a return to the past in this period. This was an applied research in terms of purpose and qualitative in terms of data analysis and sought to find an answer to the question of how Zayn al-Ābidīn Safavī used the Kufic script in writing his three printed works, i.e. Duʿā Sabāḥ 1317 AH, Qur`an 1312-1322 AH, and another version of Duʿā Sabāḥ 1322 AH, and what innovations he resorted to overcome the limitations of this script.Results of this research in the section on the elements indicate that the writer’s use of the method of early Kufic writing (in all three books) and Eastern Kufi, in some pages of the Qur’an 1312-1322 AH. He was bound to the rules of the original Kufic script in combining lines in Duʿā Sabāḥ 1317 AH, but in combining the calligraphy of the other two versions, he used innovative methods such as italicizing, vertical writing, and overwriting at the end of the lines to overcome the limitations of the Kufic script. Although it was common in other scripts, it was unparalleled in writing Kufic script. He sometimes used ingenious combinations by overwriting words within the text of the Qur’an for stunt, which is noteworthy.Examining the script and the sayings of Zayn al-Ābidīn, we find that he had at least three visual sources: a page from a Kufi Qur’an mentioned at the end of the Duʿā Sabāḥ, possibly a page from the Eastern Kufi Qur’an (Sackler Museum), or a copy of Sifāt al-Shīʿa (dated 391 AH, Amini collection), and stone inscriptions and rings.The manuscript, which was considered a novelty, contained additional texts that were not common in Qur’an writing tradition: from the addition of Muzaffar al-din Shāh’s permission to the text of the “Risāle-ye ihyā` al-khat” and the flow of Qur’anic writing. In general, the Qur’an and Duʿā Sabāḥ of Zayn al-Ābidīn were based on a research. He referred to his available works to know the Kufic script, and was able to extract the singular forms and composition of the original Kufic and the eastern and decorative Kufic. He gathered information about the types of readings and talked about it at the beginning of his book. He also paid attention to the difference between the numbering of verses by people of Basra and Kufa and has adjusted the text of the version based on both methods. Following the tradition of the time, he has also included various interpretations in the margins of the version and has provided a comprehensive version to the readers in general.The Qur’anic script has a relatively different structure compared to the two books of Duʿā Sabāḥ. While the writer in writing the Qur’an tried to be committed to the early Kufic script, according to himself, Ali ibn abī Ṭālib script, in writing the Qur’an he not only explicitly used the two methods of Kufic writing, i.e. the early Kufic and the Eastern Kufic, but also tried to innovate and somehow showed off his art.The method of writing the Kufic script in the printed books under discussion, which is inspired by early and Eastern Kufic and some of the writer’s innovations based on the structure of Naskh and Nastaʿliq scripts, caused this script to be known among the people in a short period of Qajar rule. However, perhaps the turmoil of the cultural situation in the late Qajar era or perhaps Zayn al-Ābidīn’s prediction in the introduction to the Qur’an, this method of writing did not find any follower in later years and was forgotten after the death of Zayn al-Ābidīn.

    Keywords: Art in Qajar Era, calligraphy, Islamic Scripts, Lithography, Qur’anic Script, Kufic, Zayn al-Ābidīn Sharīf Safavī
  • Hengameh Shahbeigi, Farhad Khosravi Bizhaem * Pages 49-61

    Today, more and better understanding of Iranian traditional arts requires the use of new approaches in the field of higher art studies. Iconology is an approach that analyzes works of art considering the political, social, and economic contexts of each period. In this way, art is introduced as a document from a historical period and finally it is possible to achieve the semantic content of the work. In this research, the Buraq motif has been considered by using iconological studies to identify the backgrounds of formation and inner layers of this theme and to achieve its common visual format. The research questions are as follows: Where is the origin of this icon? What is the semantic role of the inner layers of this motif and what are the factors affecting its formation? This research has been done in a library method. After collecting 26 samples by available sampling method; The images are described, analyzed and rooted, and the final analysis is performed by reaching the visual template of this Icon. According to the results, Buraq is a horse with a human head that always has a hat or a crown and a necklace and its toe are like cow hoof and its tail is like a peacock tail and in half of the cases it is drawn with open wings. In many cases, his skin is spotted. In this research, by comparing the results of visual study with literary, religious and other fields studies, it is concluded that the formal and semantic roots of Buraq icon in Iran go back to millennia BC and has continued to this day. It was used in various works through the art history such as cylindrical seals of Sumerian deeds, horse bridles in Lorestan bronzes, part of Pazyryk carpets, Achaemenid cylindrical seals, Seljuk lusterware tiles, paintings of the Ascension of the Prophet Mohammad, Safavid tiles and the rugs of the contemporary era. Although this icon has faced a slight apparent difference in each period, taking into account social conditions and general knowledge, to this day the symbolic meaning and the visual shape of the thing has not diminished and it is likely that the artist’s goal was to combine science, art and religion. The emphasis has been more and more on the meaning of God-like, spiritual and religious in order to draw and introduce a design in accordance with the dignity of the Prophet Mohammad in the public belief. Overall, the results indicate that in different eras, this image has been a symbol of courage, strength, light and speed. In the pre-Islamic period, by drawing a masculine face and adding a horn or horned crown and in the post-Islamic period by adding a peacock’s tail, wings, crown and necklace, an aspect of holiness and divinity has been exhibited.

    Keywords: Iconology, Iconography, Iranian painting, Buraq Icon
  • Neda Sadat Malakouti *, Iman Zakariae Kermani, Badri Hakimian, Farhad Baba Jamali Pages 63-75
    Persian carpet is one of the arts that is known in the science of style and has been of interest to researchers in this field in recent decades. However, this research is just the beginning and is therefore accompanied by some shortcomings and sometimes unscientific statements, including stylistics based on geographical areas. For this reason, there is no single opinion about the style of Iranian carpets. However, historical approaches have been considered as one of the methods that can be used to determine an important part of Iranian carpets in style. Considering the importance of the Safavid period, in addition to the importance of the Safavid era and the influence of the power of the kings of this period, also different opinions, including the often incorrect categories of these carpets and their belongings to a specific region of Iran without considering the reasons Logical, scientific and historical contexts Due to the great importance of this period in the history of carpet weaving in Iran, which has caused confusion in this field, and due to the special place of stylistics in scientific dealings with art, the reign of Shah Tahmasb I, as one One of the most brilliant periods of Iranian carpet weaving has been consistently significant. During the long reign of Shah Tahmasb, the art of carpet weaving in Iran reached its highest level. Tahmasb, despite his intense interest in carpet weaving and because of his attention to this art, made this profession considered as an art. In this study, we tried to use the approach of historical stylistics as an interdisciplinary category that helps us to be influential factors in the formation of an art. This position and special importance of carpets belonging to the Safavid period in the history of carpet weaving in Iran and according to the contents of the carpet style leading to this research with the aim of historical stylistics of Shah Tahmasb I carpets around the world, including the museum. New York Metropolitan, Victoria and Albert London, Decorative Arts of Paris, Islamic Arts of Berlin (Pergamon), Museum of Iranian Carpet, Astan Quds Razavi Museum of Mashhad, etc. were examined. evaluated and analyzed in terms of appearance and technical characteristics. Were analyzed. And with the help of the obtained data, individual traits should be identified separately among the carpets of each period, as well as the common features between the carpets of these periods should be identified and presented in the form of historical stylistics. Iranian carpet has a historical and artistic approach. . This descriptive-analytical study analyzes a number of carpets in this period using library resources and field observations, as a result, the common light traits among the carpets belonging to this period are identified. The influence of environmental factors such as economic, social, cultural and political conditions on the appearance and technical characteristics of this category of carpets and distinguishing them from carpets of other periods, discovering the stylistic features among the carpets belonging to this period historically And art stylistics and grouping. In order to reduce the dispersion of disagreement in this area.
    Keywords: stylistics, Historical, Shah tahmasab I, Safavid, Rug
  • Hassan Afshari *, Farida Forouzan Pages 73-83

    In the first valley of Homian Mountains area in the northwest of Kuhdasht Lorestan, there is a slate known as the Mehrdad Stone. There are more than 40 colored motifs in the bottom part of the stone slot in bright red, red-brown, black and yellow colors that each one drawn in a different style. This research aims to study these designs with similarities between the social life of the nomads of this region in the period after the Iron Age and it is assumed that certain motifs on the Mehrdad stone which likely show the movement of a number of humans and animals together represent the life and the humans migration in the past in this region. Due to sediments and natural factors, some of the patterns are completely destroyed and others are very damaged, but the patterns are red-brown with a special and vivid dynamics, which is probably due to the use of high quality paint. And some light red-brown designs on newer stone shells (which are also part of the land’s history) have failed to withstand natural disasters and now only Color shadows are seen.Considering the red-dark brown motifs, it can be concluded that the image of several four-limbed animals is most likely domesticated, such as goats and dogs, along with images of humans riding camels and horses (perhaps donkeys or donkeys) with an animal sphere. And with a human on foot with a bow in his hand, a human on horseback and a spear in his hand hunting, and a human image on a two-humped camel holding a string that is attached to the mouth of another camel behind his head, and another image seems to be a string to the mouth. The camel is attached to the ground and shows... and seems to show a movement in complete peace. The movement of a group of people who bring dogs, goats and camels and is very similar to the movement of modern nomads of the people of this region, and this is if the designs of Mehrdad stone in mountainous areas with very poor living conditions In the past, due to the lack of industrial facilities, only nomads could live in this area, and today’s communities still use the nomadic system, and Resident villages also have a historical history of nomadism. In the region, there are many similarities between the life of the people of Homian valley and Mehrdad stone motifs. For example, some painted tools such as Malband are still popular among the people of that area. Shows us.In this article we attempt to completely document and describe the motifs and find the reason why these motifs should be designed to provide a better understanding of the colorful designs of the Homian Valley.

    Keywords: Rock Art, Pictographs, Kuhdasht, Homian, Sange Mehrdad